This is the fourth of a 6-part series on the W’s.
WHAT is happening? – Apparent Event
WHAT do you want? – Actual Event
WHERE are you? – Environment
WHO are you? – Character and Relationship
WHAT is the obstacle? – Conflict
WHAT just happened? – The Moment Before
Who Are You? – Character and Relationship
We’re over halfway through the process of constructing a scene and now we get to the characters. About time. When going through this exercise as an actor, you really only have to worry about your own character. When you’re a writer, you get to worry about all of them.
I could (and probably will) spend a lot of time on constructing a character and how best to do that, but for our purposes here, let’s assume you’ve done that work. You know your character, her flaws, her aspirations, her habits, her quirks, and what she does and does not know about herself. Now you have to take that character – or those characters – and place them in the scene you’ve created using the first three of the Ws.
Sticking with the birthday party example, let’s say the hero is at a birthday party for her son at her ex-husband’s house. The apparent event is the birthday party, the actual event is she intends to tell her ex-husband she’s moving across the country and taking the son with her, the environment is her ex-husband’s house, not a friendly environment for her.
Now what? You put the characters in that situation. Let’s say the hero is not good at conflict at all, but has resolved that this discussion has to happen this day, at this time, before she loses her nerve.
Can you feel the tension building? The situation is set to explode.
The Setting Changes Characters’ Relationships
This seems simple enough, but too often I see characters whose relationship seems equal on both sides all the time, and that just never, ever happens in real life. There’s always a power dynamic, and that balance shifts over time, or even over an afternoon, and especially when they have a change in venue.
Here’s a concrete example: you have characters who work at a restaurant, where one is the manager and one is a waiter. There’s a power dynamic there, boss/subordinate. No matter how friendly they are with one another, Jeff is the boss and Mike is the employee.
Now switch the location. Move Jeff and Mike to, say, a seedy pool hall. Mike comes here every Friday night after his shift, he knows the people, he’s one of them. Jeff is a newcomer, sticks out like a sore thumb, and – God forbid – is still wearing his restaurant manager’s tie. Who’s the boss in this situation?
Same characters, but their relationship, and thus their interaction, changes with a simple trip a couple of blocks away.
The Scene Can Change The Relationship
As a matter of fact, I’ll go so far as to say that every scene should alter the relationship between its main characters. That’s not to say it has to be a positive change, but if there’s no tension to resolve there’s no movement in the plot and there’s no growth in the characters.
Back to the birthday example. The hero is at her son’s birthday party at her ex-husband’s house, where she’s going to tell him that she’s moving away. As the hero works up her courage to have the conversation, her ex-husband surprises her by confessing that he’s not over her and asks if, maybe, they could give it one more try. With a few words the ex-husband has completely changed the tenor of the scene, and subverted the hero’s intentions.
Does the hero stick to her guns and tell him she’s leaving? Does she back down? How is she going to deal with this surprise?
You tell me, you’re the writer.